Halo 19 - With Teeth (Part 1)

[00:00:44] Speaker A: Step right up. It's nailed a halo by halo journey through the music of nine inch nails I'm Blake. [00:00:50] Speaker B: I'm Jessica. [00:00:51] Speaker A: And this is with Teeth disc one side, one part, one of the podcast series, the first four tracks. So we'll be in this episode discussing all the love in the world, you know, what you are, the collector and. [00:01:13] Speaker B: A tiny little baby bit about the Hand That Feeds. [00:01:16] Speaker A: Yeah. And if you want more on the Hand that Feeds, go to our The Hand That Feeds episode. [00:01:21] Speaker B: That would be Halo Eight. [00:01:22] Speaker A: That would be the previous one. Yeah. So we finally made it. What do you got for me, Jess? [00:01:28] Speaker B: Do we have any nine inch news before we move on? [00:01:31] Speaker A: Oh, yeah. [00:01:32] Speaker C: So everything is in the news today. [00:01:37] Speaker B: Okay, well, this is more of a news nugget. [00:01:41] Speaker A: News nugget? [00:01:42] Speaker B: Yeah, it's a nine inch nugget. [00:01:44] Speaker A: Nine inch nugget. Don't make me make that drop. I won't do it. [00:01:49] Speaker B: But just a baby bit. The killer score. The score to David Fincher's latest movie that is coming out pretty soon. It'll be out before we know it. [00:01:59] Speaker A: Michael Fassbender. When does it come out? [00:02:01] Speaker B: Late October, early November. I can't remember when it comes out to theaters. It's a Netflix movie. But the score, which is done by the two dudes, reznor and Ross, the two dudes. It's been getting reviews and will probably be available on vinyl. I'm only guessing at that, but there is a whole Fincher section on the Nine Inch Nails website that's just vinyl. So my guess is that will be out. [00:02:30] Speaker A: I won't hold my breath on it because of The Mank debacle. [00:02:34] Speaker B: True. I don't know, but I feel like The Mank score was a little bit bigger in scope and ambition with the packaging to fit the theme of the. [00:02:43] Speaker A: Movie delay in the supply chain. [00:02:46] Speaker B: I know Blake is very upset because the soundtrack relies heavily upon The Smiths. [00:02:51] Speaker A: I just learned that. So the killer movie, I guess the character likes The Smiths or something. [00:02:57] Speaker B: I mean, a lot of people like the So, but yes. [00:03:00] Speaker A: Okay. [00:03:00] Speaker B: The character really likes the Smiths. [00:03:03] Speaker A: So if we're not hearing Reznor and Ross score, we're going to be hearing The Smiths. So take that as you will. We just report the news. We don't judge the news. Well, sometimes we do, and I think this news sucks, but I'm excited to see the movie anyway. So how do we get this with Teeth party started over here? [00:03:28] Speaker B: Well, I guess we'll just talk about the basics. And one thing I'm going to do this time that's a little bit different than other times is I would kind of cram a lot into the first episode, so much so that I would have intros to the album. Usually that's where you'd find like, promotional information, artwork information, that kind of thing. This time, Blake outlawed me having an intro to the album. [00:03:56] Speaker A: We had intro to with Teeth era. I thought it was excessive. [00:04:00] Speaker B: Anyway. I don't personally, anyway. So what I'm going to be doing this time is just kind of dividing some of that information, spreading it out amongst the episodes. So on this one, I'm just going to kind of go over the basics quickly. But if I don't mention artwork and if I don't mention Dave Grohl, and if I don't mention, I don't know, that damn PDF poster, it's because it's going to come later or PDF booklet or poster or both, there will be. [00:04:28] Speaker A: More Dave Grohl later, we promise. Yes. [00:04:31] Speaker B: So I'm just going to spread it out amongst the episodes instead of trying to cram it all in this episode. So what I wanted to focus on this time is just kind of the basics about with Teeth and then the chart information, because I love looking at the charts and putting the album in context. [00:04:51] Speaker A: She's a student of the charts. [00:04:55] Speaker B: I'm just always interested in, I guess, from a pop culture sociological perspective, like, what was what were listening to? Well, yeah. So halo 19 released May 3, 2005 A little early birthday gift for me, even though at the time I didn't like it. [00:05:15] Speaker A: Well, shame on you then. You didn't appreciate your birthday present. [00:05:22] Speaker B: It was ahead of its time, I guess. There were three singles from the album. The hand that feeds only and every day is exactly the same I'm just going to kind of go over the major credits for the album. So writing, arrangement and performance. Trent reznor production was done by Reznor and Alan Mulder. Again, Mulder came and additional production is done by a little guy named Atticus Ross. [00:05:48] Speaker A: A little guy. [00:05:50] Speaker B: Additional drum programming. Jerome Dillon. So he gets a little bit of credit. [00:05:53] Speaker A: OOH, drum programming. [00:05:55] Speaker B: And Leo is back. Leo Herrera. [00:05:58] Speaker A: Leo our favorite engineer. [00:06:00] Speaker B: Design. Rob sheridan. Of course, we'll talk more about that when we talk about artwork. [00:06:04] Speaker A: His first album, where he's the guy. His first main album. Non remix album. [00:06:11] Speaker B: Yes. [00:06:11] Speaker A: Where he's the main guy. [00:06:13] Speaker B: Yes. And he's doing everything right. Recorded at Nothing Studios, New Orleans, the Village Recorder Soundcity Studios and Grandmaster Recording Studios, which I believe are all located in La. [00:06:25] Speaker A: Yeah. [00:06:26] Speaker B: So it was released on vinyl at the time. One of the main differences is that Home is included on the vinyl. It's also included on the 2017 Definitive Edition vinyl, if you have that. But it's on side C. It's right after Sunspots, so we'll talk about that when we get there. But Home was included on the vinyl release and not on the American CD release. [00:06:52] Speaker A: I like that. As opposed to the fragile where you were almost penalized for getting the vinyl by having less. Well, okay, that's not true at all. I'm just thinking about, okay, you did get extras, but you didn't get decay. [00:07:08] Speaker B: At the very decay, yeah. [00:07:10] Speaker A: On this, they give you an extra to incentivize vinyl. [00:07:13] Speaker B: That's right. There was a dual disc version that was also released, which featured the entire album in 5.1 surround sound. [00:07:20] Speaker A: That's the one I got. Still have that disc? The very same one. [00:07:24] Speaker B: Still love it. Yeah. An instrumental version of this was released in 2015, available through Apple Music. If you don't have it, go to Nindistrupt.com and you can download it for free. [00:07:37] Speaker A: I got it. [00:07:39] Speaker B: And just real quick, I'm going to go over some of the bonus tracks that were on different versions. So the European version, bonus track had Home. The UK version had right where it belongs. Version two, the Japan version had the hand that feeds rough mix, which is apparently everyone's favorite version of the remix. I guess I said I said Vinyl Home, but I already talked about that. So when they toured in support of this album, there were four legs of that tour. It was a pretty long tour. [00:08:11] Speaker A: That's hard to believe. It can't be longer than, say, self destruct era touring. [00:08:18] Speaker B: No, but I feel like they toured nonstop for a very long time because of with Teeth and Year Zero 2005 and Six. [00:08:25] Speaker A: Yeah. And then it didn't stop because a new album came right on the tail of that. [00:08:30] Speaker B: Yeah, definitely. Entering the most prolific era of Reznor's career. And if you include scores, I mean, he hasn't stopped. [00:08:37] Speaker A: Yeah. [00:08:38] Speaker B: Really? [00:08:39] Speaker A: Now it's more scores than anything. [00:08:41] Speaker B: Yeah. It's been ten proper years since we've had a full length, which I think we talked about earlier. [00:08:47] Speaker A: Right. And people do. Forget about ghost five and six. Well, two lengthy full lengths, but they kind of seem like more score material. [00:08:57] Speaker B: That and there was no physical release of it. [00:08:59] Speaker A: True. Yeah. Where's our fucking vinyl for those? [00:09:02] Speaker B: I don't know. But you got it for free during the pandemic. [00:09:04] Speaker A: I mean, that's cool and all, but I'll shell out some money for a vinyl copy. [00:09:10] Speaker B: Yeah. [00:09:10] Speaker A: Not much art to speak of, though. [00:09:12] Speaker B: So I did want to talk about the charts. This debuted at number one on the Billboard 200 on May 21, 2005. Blake, we're going to play a game. Can you figure out the top ten? I already gave you one of them. Nine inch nails with teeth. Number one. Can you do the top ten, do you think? 2005? [00:09:33] Speaker A: Probably not at all. Is it going to be more 50 Cent? Because we talked about this last time. [00:09:37] Speaker B: That's one. That would be the massacre. Was number four. [00:09:43] Speaker A: The game. [00:09:45] Speaker B: No, he's not on here. [00:09:47] Speaker A: Damn it. Trying to remember what I was alive. [00:09:53] Speaker B: 290S musicians who have solo albums. 290s front people. [00:09:59] Speaker A: Rob Thomas. [00:10:00] Speaker B: Oh, my God. How did you pull that out of your how did you pull that out? [00:10:03] Speaker A: I just randomly guessed a person who was a 90s musician who had solo stuff. [00:10:10] Speaker B: So something to be was number three. [00:10:12] Speaker A: Holy crap. Three. [00:10:14] Speaker B: Number three. One more artist. [00:10:17] Speaker A: Oh, a 90 solo musician. [00:10:19] Speaker B: Well, they released solo albums in the Ops. [00:10:21] Speaker A: Chris Cornell. [00:10:22] Speaker B: No. [00:10:23] Speaker A: Damn it. [00:10:24] Speaker B: I'll give it. It's Gwen Stefani. Love angel music, baby. [00:10:28] Speaker A: Right. [00:10:29] Speaker B: There was a score to a movie. It was a prequel. It was the third in a series of prequels. [00:10:38] Speaker A: Star wars. [00:10:39] Speaker B: Yeah. Episode Three, Revenge of the Charted. [00:10:44] Speaker A: Did you say Revenge of I did. [00:10:45] Speaker B: Say Revenge of the Synth. That was a weird slip there. [00:10:49] Speaker A: No one has, like, a website called Revenge of the Synth where it's about synthesizers. [00:10:54] Speaker B: We start one. [00:10:55] Speaker A: Wait, I'm copyright TM. TM. That's mine. [00:10:58] Speaker B: Okay. Blake claimed it. Yes. Revenge of the sith. Sorry. [00:11:02] Speaker A: Synth history. Look out. I'm coming for your spot. [00:11:06] Speaker B: Okay. [00:11:06] Speaker A: Watch for revenge of the synth. [00:11:08] Speaker B: One who was a 90s pop star who continued her reign, I guess after a Britney Spears. No, after a possible career ending meltdown. [00:11:22] Speaker A: Career ending? This isn't Britney Spears. [00:11:25] Speaker B: No, it didn't end her career. But it could have. She made a little movie called Glitter. [00:11:32] Speaker A: Oh, Mariah Carey. [00:11:34] Speaker B: Yeah, it was around that era. [00:11:36] Speaker A: He kind of handed it to me. [00:11:38] Speaker B: I know the Emancipation of Mimi One is a boomer singer songwriter who disappointed a lot of people this year about ticket pricing. [00:11:50] Speaker A: Was it Bruce Springsteen? [00:11:53] Speaker B: Yes. Devil's and Dust, number five. [00:11:56] Speaker A: Nice. [00:11:57] Speaker B: Number nine. This group released a cover of Who Didn't Start the Fire this year with updated lyrics. [00:12:04] Speaker A: All out, boy. [00:12:05] Speaker B: That's right. From under the cork tree. Another one you're never going to get. This is definitely a Barnes and Noble customer favorite. Il Devo. If anyone worked at Barnes and Noble. You'll remember ildivo. [00:12:18] Speaker A: Don't know what that is. [00:12:19] Speaker B: It was like a quartet of good looking classical singers, like A forsome Josh Groban. [00:12:26] Speaker A: I don't know how that or Josh. [00:12:28] Speaker B: Groban's, kind of yeah, if I remember correctly. Okay, and then Mike Jones. Who is Mike Jones? Rounds out the top ten. I don't know who Mike Jones is. [00:12:37] Speaker A: Some rapper. [00:12:38] Speaker B: That's my guess. Yeah. Just some honorable mentions. Kelly Clarkson. Breakaway number 13 killers. Hot fuss number twelve. Green Day. American Idiot, number 18. So there you go. That's what America was listening to. [00:12:55] Speaker A: Okay, I remember it now, now that you mention it. [00:12:58] Speaker B: Now we're going to play a little personal game to see how well you know your wife. [00:13:02] Speaker A: Uhoh, I'm in trouble. [00:13:04] Speaker B: Now, I made a list of notable records released in 2005 that I was way more into than with Teeth lol. [00:13:12] Speaker A: Some of these I already know. [00:13:13] Speaker B: Okay? [00:13:14] Speaker A: You already told me. [00:13:15] Speaker B: Okay. So I made a list. Try to guess them. Some of them. [00:13:19] Speaker A: How many are on the list? [00:13:21] Speaker B: I made ten. You don't have to do all of them. I just want to see if you Fiona Apple. [00:13:25] Speaker A: Extraordinary machine. [00:13:26] Speaker B: Yeah, that's one. That's really good. [00:13:29] Speaker A: I was as into that one as I was into with Teeth. Maybe I already forgot everything you told me. Bright Eyes. [00:13:39] Speaker B: Yeah. So Bright Eyes released two albums in January of that year. I'm wide awake, it's morning and then digital ash and a digital Earn. Those both are really great. Still hold up okay? [00:13:50] Speaker A: Yeah, I didn't care about that at all. Sorry. [00:13:54] Speaker B: You still don't. You just call it sad bastard music. [00:13:56] Speaker A: Yeah, it completely is. [00:13:58] Speaker B: The only sad bastard music, Blake like, is made by pretty women. [00:14:01] Speaker A: We know this male, and they're like the female kind. Sad girl, they call it sad girl music. They call it girl dinner now. Yeah. I really did forget all the things you posted. [00:14:18] Speaker B: That's okay. A lot of them I didn't. [00:14:19] Speaker A: Stories. [00:14:20] Speaker B: The Mars Volta francis The Mute oh, that was 2005. [00:14:24] Speaker A: Really liked that one. I bought that when it came out. [00:14:28] Speaker B: Siffy and Stevens released Illinois. [00:14:31] Speaker A: That's an old fave of mine, too. [00:14:34] Speaker B: Queens of the Stone Age. Lullabies to paralyze. [00:14:38] Speaker A: Okay. Yeah. Good one. [00:14:39] Speaker B: Mountain Goats. The sunset tree. [00:14:42] Speaker A: Don't think I've heard it. [00:14:43] Speaker B: Any of it. [00:14:45] Speaker A: I've listened to very little Mountain Goats on purpose in my life. [00:14:48] Speaker B: Well, that's sad for you. [00:14:49] Speaker A: Sorry. [00:14:50] Speaker B: The white stripes. Get behind me, Satan. I know you don't like them, either. [00:14:54] Speaker A: They're fine. [00:14:56] Speaker B: Spoon give me fiction. It's the only Spoon album I've ever liked that I have gotten into was that one. I feel for a while, Spoon was everywhere in the aughts, like, used on every single trailer. What the hell happened? Okay, I don't know. It's kind of like for a while, they were using naive melody by Talking Heads for every romantic comedy. It was really annoying. [00:15:19] Speaker A: It's like they get one license and everyone gets to share it. I don't know what the yeah, maybe. [00:15:25] Speaker B: We should look at the production companies or the distributors and see who anyway, December is pickeresque. [00:15:32] Speaker A: Okay. [00:15:32] Speaker B: Fucking love that album. Lady Tron's witching hour and Kathleen Edwards back to me. [00:15:39] Speaker A: Lady Tron would go on to open for Nine Inch Nails. Am I wrong there? [00:15:44] Speaker B: Yeah. [00:15:44] Speaker A: Okay. [00:15:45] Speaker B: I was also obsessed with Arcade Fire's Funeral, which I believe came out the year before. And I had just recently discovered television and was very into Talking Heads. Also, at this point in time, we're. [00:15:55] Speaker A: Putting with teeth in context, including the context of what Jessica was liking at the time. [00:16:01] Speaker B: And maybe I'm just trying to say, maybe there are reasons other than the album. Like, maybe it's not the album's fault that I never connected with the album. Maybe I was just in a very different phase of my life at the time. [00:16:15] Speaker A: I was in a failing out of college phase. I was listening to some of that same stuff, but also, like, System of a down. They were releasing their dual albums. [00:16:26] Speaker C: Yeah. [00:16:27] Speaker B: I think they had a couple album or one album at least, come out this year. [00:16:30] Speaker A: Yeah. And then maybe the next one came out the following year. I forget. But that was around that time. I recall lots of this stuff blasting in my car. I was driving a lot. I don't know. That's all I remember. [00:16:42] Speaker B: Yes, so, anyway, I wanted to also take a look at things that were not necessarily the top 20 albums because there was obviously a lot more going on in music than that. But popular music was and by popular music, I don't necessarily mean like Nine Inch Nails or all of these bands, but it was kind of bleak just looking at that list. So that's all. I just wanted to see if you could guess some of those albums and if you had any interest in them, too. [00:17:08] Speaker A: I did okay at guessing. [00:17:11] Speaker B: You were okay. I ended up just reading them to you, though. [00:17:14] Speaker A: Yeah, but I got a bunch anyway. [00:17:16] Speaker B: A bunch? You got like two. [00:17:19] Speaker A: More than two. I'm going to roll the tape back. [00:17:23] Speaker B: Okay. Sorry to spend time on that. That was a dumb little aside. [00:17:34] Speaker A: No, it's okay. It's context. [00:17:36] Speaker B: I guess we can just talk about these first four tracks, starting with track number one, all the Love in the World. [00:17:44] Speaker A: The opener. [00:17:45] Speaker B: That's right. We do have some musicians credited here. Live percussion Dave Grohl. [00:17:54] Speaker A: I didn't think that was Dave Grohl for some reason and had to be told. [00:17:58] Speaker B: Oh, earlier. [00:17:59] Speaker A: Yeah, because the other stuff sounds very know this really big sound with these big fills. And this is just very kind of a meat and potatoes beat. It's really effective. But it's not what you expect from Grol. But I guess if you tell him what to do, he can do whatever style, and it's going to sound good. But it's a little different from the other girl stuff on the album. [00:18:28] Speaker C: Yeah. [00:18:29] Speaker B: Turntables were credited to alien Tom. Now, if you Google Alien Tom, you might get a lot of stuff about Tom from Link 182. [00:18:39] Speaker A: That's all you'll get. [00:18:40] Speaker B: Type in alien. Tom DJ. There you go. That's what's going to get you to the right place. [00:18:47] Speaker A: So strange. There was a DJ with Turntables on this one. [00:18:51] Speaker B: Yeah. So alien. Tom credited with turntables for this. So alien. Tom is a Southern California DJ. I found his website. [00:19:00] Speaker C: Okay. [00:19:01] Speaker B: He also has done a lot of remix. He lists Nine Inch Nails, all the Love in the World. But he also has done all these remixes. But I don't know if any of them are official because there's so, like are these just things he does on the, like I don't know. [00:19:15] Speaker A: I don't know. But what I'm assuming he doesn't because it's not like you hear scratching in this or something. I'm assuming he's kind of chopping and screwing the beat. That's the wrong term entirely. I know what that is. But the beat is very glitchy, and it switches up. There's like, weird filter and stutter. It's very affected. Some things sound, like, reversed and you. [00:19:39] Speaker B: Mean like the beat at the beginning? [00:19:40] Speaker A: Not the beat, not when girl comes in. I'm talking about the electronic beat. I think Mr. Alien is messing with it with his DJ tools. [00:19:49] Speaker B: Excuse me. His first name is Alien. It's Mr. Tom. [00:19:52] Speaker A: Oh, right, right. Mr. Alien was my father. Yeah. So we have two halves of the song or really, it's only like the back third. That is the organic acoustic set. The rest is very electronic sounding. But yeah, I think he's making it sound more glitched up and affected in a way that we hadn't quite heard nine inch. Like, we'd heard plenty of affected electronic beats from Nine Inch Nails, but not like, in this specific flavor, I guess. So it makes sense that an outside person was doing that. [00:20:29] Speaker B: I wonder how Reznor hooked up with Alien Tom. If anyone knows. [00:20:33] Speaker A: Probably at a party. [00:20:34] Speaker B: Think so. Just random meeting at an industry party and he's like, alien Tom, I dig your vibe. [00:20:40] Speaker A: I guess Reznor. Wasn't really partying in that sense these days, but industry mixer, sure. [00:20:48] Speaker B: So just some little quick factoids, I guess. This track, according to Alessandro Cortini, is the Nine Inch Nails track that resonates with him the most. He was asked this question by ID magazine. Thank you, Nintend, for finding this. And he said, all the love in the world from with teeth. It was the first track they played me in the studio the day I joined and the first glimpse at what was to come. I really loved that record, and this track marked a huge departure for myself and the band. [00:21:19] Speaker A: Yeah, that would be a weird one to hear first. Just like out of context, not knowing what the album is about. [00:21:29] Speaker C: True. [00:21:30] Speaker A: Doesn't really sound like the rest of the album to me. [00:21:32] Speaker B: Do you think it threw a lot of people, fans who listened to the album, that this was this first track? Do you think it threw a lot of people? Because it kind of threw me. [00:21:39] Speaker A: It did throw me, too, I remember. Yeah. The first time I heard it, I. [00:21:43] Speaker B: Think it had to grow on me a little bit. I don't think I liked it. It's not that I didn't like it. I just didn't click with it. [00:21:50] Speaker A: I was like, oh, it's really going to start this understated and quiet with the lyrics coming in right away. It surprised me. It jump scared me a little bit. Fragile also starts very quiet, but takes a long time to get to the vocal or relatively. [00:22:12] Speaker B: It starts quiet, but there's like an air of foreboding. [00:22:17] Speaker A: Yeah, very foreboding. This is a little bit this is kind of dark and foreboding. It's a spooky little baseline, if you want to call it that. [00:22:28] Speaker B: Yeah, I don't menacing. I wouldn't say menacing. [00:22:31] Speaker C: Okay. [00:22:32] Speaker B: I would say that somewhat damaged is more menacing. [00:22:35] Speaker A: Yeah, that's menacing. This is a little more subdued, maybe. [00:22:39] Speaker B: Yeah. I mean, there's pinion. It's really quiet. Maybe everything's really quiet. [00:22:44] Speaker A: Yeah, there's a lot of he almost always does this. A build up at the beginning of an album. [00:22:52] Speaker B: Does this work for you as an album opener? [00:22:54] Speaker A: Yes. I don't know what else I would choose. I like that the jam part at the end that really gets me into the album. [00:23:03] Speaker B: Is it your favorite album opener? [00:23:06] Speaker A: No, of course not. [00:23:09] Speaker B: Well, for a lot of people. What is your favorite album opener? You think? [00:23:12] Speaker A: I mean, Somewhat Damaged is a great song and a great opener. How could I put this ahead of that's? Not that's only one example. I mean, Mr. Self destruct is great. Head like a Hole is a great song. Pinion's a great way to open a little EP. Yeah, there's lots of great stuff. [00:23:34] Speaker B: Okay, so I'm sure you're going to talk about this whenever we get to your clips corner, but I'm going to read something that Reznor spoke about in Guitar World in 2005 and I think it will click whenever we hear your clips. [00:23:51] Speaker A: Okay. [00:23:52] Speaker B: Reznor said this time around I wanted to start with words and melody. I was in Los Angeles at the time. I'd sit down at the piano with a drum machine and a computer to record vocals into. After four or five months, I had about 25 songs. Then I went back to New Orleans to a real studio and found out that I couldn't really beat the demos. A lot of it sounded good, stripped down. I was feeling more confident. Confident enough to say maybe it doesn't need to be layered. And maybe that vocalized thing where you can hear a TV in the background has an emotional quality that can't be bettered. It was an unexpected process and led to the record being more song oriented. So there is dialogue from an episode. [00:24:30] Speaker A: I'm glad you found that. [00:24:32] Speaker B: Yeah. By the way, I think an intern also had it. But I had it. Yeah, we both had it. [00:24:36] Speaker A: I spent a few hours yesterday researching TV in the background. [00:24:43] Speaker B: Like just of music? [00:24:44] Speaker A: No, just going on a rabbit hole into this, what you're about to talk about. But no, go ahead. [00:24:51] Speaker B: Well, there's just a clip from a Twilight Zone episode that was left in the mix of all the Love in the World. You can't hear it on the album version, but if you listen to the instrumental version that was released on itunes, you can hear it clearly and that's a different say. Is that a totally different mix? [00:25:13] Speaker A: Not totally different, but you can hear the Twilight Zone sample somewhat clearly, but not that clearly in the instrumental version that was available online. No matter how much I turned up the volume, I couldn't really hear anything unless my ears were playing tricks on me. On the regular album version with vocals, some people were saying that on an early leak, like a BitTorrent leak of the album, you could hear it on this track but not on the CD that came out, which is interesting. So like an early version had it. Maybe it had to do very likely had to do with clearing the sample. [00:26:01] Speaker B: Maybe if it was loud enough to be noticed by a listener, it would probably need to be cleared. [00:26:07] Speaker A: Yeah, absolutely. And they were probably just like, fuck, it not worth the time and money. So they took it out, but then put it back in. Maybe they felt they could get away with it, or the nature of the rights to this 75 year old TV show or whatever it is. Not that long. It changed. [00:26:26] Speaker B: So what was the episode? Do you remember what it was called? [00:26:28] Speaker A: Yeah, I have a whole oh, okay. [00:26:30] Speaker B: Then we'll wait for that then, because there's one more thing I want to do. I'm actually going to read a little bit from the Pitchfork review. Normally I save this for whenever it's a whole different thing where I talk about reviews, but I wanted to read this and it's talking specifically about all the love in the world. It's like two whole paragraphs just about this song. In 2005, Reznor kicks off with teeth with all the Love in the World, a track that can easily be read as a response to his fading celebrity in the wake of the success of countless imitators. No one's heard a single word I've said. They don't sound as good outside my head. I don't think their interpretation is necessarily right, but we'll talk about that later. [00:27:08] Speaker A: Necessarily. Yeah. [00:27:09] Speaker B: From the start, it seems he's about to go splunking up his colon yet again, 9th grade poetry in tow. It begins pensively with a wet drum machine beat punctuated by soft piano notes, while Reznor asks the question on nobody's mind, why do you get all the love in the world? And then comes the disco break. The beat locks down, the piano gets in line. Reznor returns to the titular question, this time in a falsetto, and screams it back. Call in response style, harmonizing with himself. A bass drum tambourine and backing vocals hop on board and when the bass line kicks in, it's as though he's dropping a mirror ball on Goth night at Club Velvet as all the young Robert Smith's and Susie Sue's in the crowd proceed to drop it Like It's Hot. That was a big single around this time. All The Love has nothing on the porn serious bump and grind of Closer, but it's not trying to horn in on that action for about 90 seconds. There's an epidemic of full on cool in the Gang Dance Fever and it actually sounds fantastic. They actually liked well, as they made fun of him, they'd like to part. [00:28:13] Speaker A: With about 50 negative qualifiers. [00:28:15] Speaker B: Exactly. [00:28:16] Speaker A: I remember reading and also dissing his. [00:28:19] Speaker B: Fans at the same time. [00:28:20] Speaker A: Yeah, fuck off. I remember reading that. But it does sound fantastic. That's one of my favorite parts of the album. I like that part of the song 20 times more than I like the rest of the song. But yeah, very timely. Relevant review. Love the drop. It like it's hot, which was a slang for the young people. That was some slang that a lot of people were saying around this era. [00:28:50] Speaker B: So yeah, I just wanted to read that. I agree. I like that part a lot. Actually, my favorite part never mind. I'm not going to say what my favorite part on the album is. [00:28:59] Speaker A: Okay, we'll get there. But this is in top three or five favorite parts on the album for me. [00:29:06] Speaker B: All right. So do you just want to play the song and then we'll do clips corner. [00:29:09] Speaker A: Sure. [00:29:14] Speaker C: Watching all the insects watch along let's. [00:29:19] Speaker A: Take about a second and a half before lyrics began to know just right where they belong. Nothing but smear that wet as they said. Drum machine, bass, guitar and voice so. [00:29:36] Speaker C: Pretty spare hiding in the crowd. [00:29:41] Speaker A: Yeah, all that little delay or reverse all the effects. I could see DJ Alien doing this like that. An organ comes in here and it sounds like a Hammond B three organ. So, like, outside, not high tech stuff. I like when he goes to that. Like on piggy. [00:30:02] Speaker C: It looks as though the past is here to stay. I've become a million miles. [00:30:15] Speaker A: Catchphrase. Why do you get all now there's a piano added. [00:30:28] Speaker B: I do like this little piano refrain a lot. [00:30:31] Speaker A: Yeah. Trent and a piano name. A more iconic duo. This one has a lot of piano, especially at the end. [00:30:40] Speaker B: This whole album has a lot of piano. [00:30:42] Speaker A: Yeah. [00:30:44] Speaker B: Probably comes from recording demos by himself. [00:30:49] Speaker A: Right. Just a boy in his piano. He's really reaching, screaming out those lyrics there. He's cutting off the end of his vocal phrases. What do you think that's about? [00:31:12] Speaker B: Doesn't want to finish that final thought. [00:31:13] Speaker A: He's kind of saying a cliche or a reused thing on both of those cases. One of which is his own reused thing. The other his Elvis's or whoever it was Hank Williams. This is too the cinnamon is so corny, I almost don't want to say it. And who's getting all the love in the world? It's repeated so much. [00:31:54] Speaker B: I think it's referring to just someone who can't who's struggling with, like, mental illness issues or addiction issues. It's kind of one of the same things. Maybe they're looking out at people they consider normal, who have normal lives and can't understand why they get how they do it. How do they do it. [00:32:25] Speaker A: Now it's this song is like a totally changed genre. And this song has a key change, too, which is not that common. But the verses were a different key than the choruses. And now this outro part. [00:32:45] Speaker B: And right now, if you're at a gospel, all the Robert Smith's and Susie Sue's are dropping it like it's like. [00:32:51] Speaker A: Hey, it's okay to hit the floor. Love these harmonies. Another choir of a million Trents, which is one of my favorite tricks of his. Why do y'all get out that prominent tambo so hot in the mix. Lets. US know it's going to be okay. Dave Grohl's about to come in. [00:33:22] Speaker C: Why do you get out? Why do y'all get why do y'all. [00:33:29] Speaker A: Get why to play? [00:33:36] Speaker C: Why do y'all get why love in the world in the world I'm alive in our world. [00:34:04] Speaker A: Too good to talk over. And we go out on these piano chords that are fading out. [00:34:25] Speaker B: Okay, before you go on, can I read something that Atticus said in Remix magazine? So Atticus is talking about that outro, and he says, it's very unusual that you encounter a singer who can do that. The body of the outro piece on all the Love in the World is done in loop record, but he's not listening to the track he recorded before in his mind, he knows what he's aiming for. So he's just singing different harmonies without hearing the one before. And that goes on for probably an hour with just recording, recording, recording. Then we go back and go through all the different ideas and kind of arrange them, and he has them up on the board. And through Muting, he decides what he does and does not like, and then we go back and retract if need be. But a great majority of the ideas come from him on the fly. It's just very unusual that you meet people who generate so many ideas like that. [00:35:13] Speaker A: Yeah, that's a good quote. [00:35:15] Speaker B: I just didn't want to forget it. [00:35:16] Speaker A: No, it's good. So I have a lot of stuff on this one. I have less on the other things, but, yeah, it's generated a lot. So back to the twilight zone. And Trent loves this twilight zone. The clip used, at least in this song originally comes from an episode of The Twilight Zone, season one. And get a load of this title. And when the sky was opened the episode is called And When the sky was Opened, based on a Richard Matheson story. And I watched enough of it and read synopsis or I watched most of it trying to track down this clip, but it's about, like and see if you can draw parallels to whatever you think this song is about. We're not going to tell you what it's about. We'll let you interpret it. But it's about, like, astronauts who go on a mission and crash land somehow they crash land back on Earth and all survive but find that was the. [00:36:29] Speaker B: Earth taken over by a yeah. [00:36:32] Speaker A: Yes. No. [00:36:33] Speaker B: Oh, okay. [00:36:34] Speaker A: The three astronauts find that something that they were, I guess, meant to die on that mission, and something is making them disappear after they've returned. So that there's, like, two guys talking, and one of them remembers the third guy, but the other one doesn't. And he's like, there was a third guy with us. Damn, you a third guy. That's not real dialogue. [00:37:01] Speaker B: But put a pin in that idea, though, about someone remembering the third guy. [00:37:05] Speaker A: I'm betting this has to do with some of the bleed through stuff and that concept that we'll talk about. Yeah. Then we cut to like a flashback of that third guy who's not being remembered and he's aware that he's being erased from memory. And then it ends up with like one guy and then no guys. I think by the end, because the universe or some force is trying to erase them. [00:37:30] Speaker B: Well, it was death. Have you not seen Final Destination? Okay, you know what he's going to get? [00:37:35] Speaker A: You know what? This is just final destination. [00:37:37] Speaker B: I just realized yeah, it's just in the 50s, so they couldn't put them on the special effects in and all. [00:37:42] Speaker A: The blood, so yeah, it's like you were supposed to die. The Grim Reaper is coming for you. But it's in space. I mean, it doesn't actually takes place on Earth. Anyway, this is from the instrumental version of the song with the clip with the sample. This is the unaltered version. [00:38:06] Speaker C: Very funny feeling like this before. I didn't belong. [00:38:19] Speaker A: So you hear something, you can make out like a word or two. Definitely get that people are talking. [00:38:30] Speaker C: Wow. [00:38:33] Speaker A: And here after I tracked down the clip from the episode itself, I made an enhanced version of that. [00:38:46] Speaker C: Got a very funny feeling. Never felt anything like this before. What kind of feeling? Just like I didn't belong here. Like if I was to let myself grow. But you'd want like I'd disappear. Wow. [00:39:14] Speaker A: And this is to put it in the context of the show, this is the full the full clip without the music. The astronaut guys are at a bar. [00:39:27] Speaker B: All three of them? [00:39:28] Speaker A: Yes. This is when the first guy to disappear is just starting to realize that something is not right. And he has dropped his beer glass. [00:39:37] Speaker C: Well, that's okay. That's okay. That ain't the last glass to bear the place. [00:39:42] Speaker A: You sick, Ed? [00:39:44] Speaker C: No, I'm not sick. She's got a very funny feeling. Never felt anything like this before. What kind of feeling? It's like I didn't belong here. Like if I was to let myself go, you'd what? Like I'd disappear. Wow. Who. Happy landings. [00:40:22] Speaker A: Sure. His friend doesn't know what to say. He's just like, who, you sure are drunk, I guess. Damn, that sounds like it sucks. Anyway, changing the subject, so definitely I'm sensing some parallel themes, something. I mean, things are seeming familiar in what they're saying there, but I won't give too much away. When I read the thing about Trent saying he was doing demo vocal takes and you could hear the TV in the background, I put the two and two together and I was like, wouldn't that be interesting if what he was watching in the background was actually this Twilight Zone episode and that's how it ended up there? I don't think it was actually by coincidence in that manner. That would just be a cute thing to have happened. I think it was pretty deliberately put there. We know he likes his Twilight Zone references and the whole fact that it was removed or seemingly turned down or removed for later version for the album version of the song, that kind of does away with that theory. [00:41:39] Speaker B: What most people don't realize is that in the original demo, trent was actually watching the prices, right? Because his tummy was upset and he wanted to feel better. [00:41:47] Speaker A: And his mom said, okay, you can stay home, but no TV. You have to stay in bed. But he turned the prices right on anyway and ripped to Bob Barker, by the way. [00:42:00] Speaker B: Rip. [00:42:01] Speaker A: The title of that episode is really interesting, and when the Sky Was Opened, for several reasons, the first thing a lot of people might think of is the lyric about the sky cracking open in the song The Wretched. But I only just recently learned this, and when the Sky Was Opened is the title of a track on Reznor and Ross's Before the Flood score. Did you know that? From 2016? [00:42:30] Speaker B: Yeah, because I've listened to that score. [00:42:33] Speaker A: Okay. I've listened to some of it. That's crazy shit, I guess. It's not that crazy. I mean, he just likes it. [00:42:41] Speaker B: It's a cool title. [00:42:43] Speaker A: I knew there were multiple examples of Twilight Zone episode titles being used as song titles. I didn't know that there was one in the scores. The score work. And there's also a how to Destroy Angels track titled and the Sky Began to Scream, starting with and that's no accident and kind of a weird way to phrase it. Interesting similarities there. I think I can stop talking about that sample now and go back to the rest of my clips, if that's okay. [00:43:15] Speaker B: Okay. [00:43:16] Speaker A: So the organ that comes in halfway through the verse, that to me, sounds like a Hammond B three. Maybe Leslie speaker spinning around or maybe it's a virtual instrument. I don't know what they can do these days with those. But this is in the surround channels if you're listening to the five one mix of the album. And I know people are going to want to hear isolated vocals, so I might as well just play them right. Yes, I'll spend a lot of time playing isolated vocals in this episode. Well, all the episodes. So here goes. [00:44:09] Speaker C: Watching all the insects march along seem to know just right where they belong smears a face reflecting in the chrome hiding in the crowd I'm all alone. [00:44:40] Speaker A: What'S cool about the surround mix is that generally in the center speaker, it will be nothing but the vocal. So it makes it nice and clear and easy to isolate the second half of the verse. He goes up an octave and gets. [00:44:59] Speaker C: Loud no one's heard a single word of sin they don't sound as good outside my hand it looks as though the past is here to stay I've become a million miles away where do you get all the love in the world. [00:45:33] Speaker A: I'm hearing several interesting vocal irregularities. Maybe I could call them, but to get into one of them here is this Million Miles Away part. [00:45:46] Speaker C: I've become a million miles away sounds. [00:45:52] Speaker A: To me like there's an edit point in there that he this is what it sounds like to me, that he finished the full word and then they in editing. Maybe it was Atticus did this, cut it, and had the next take come up. [00:46:08] Speaker C: I've become a million miles away why do you get all the love in the world? [00:46:16] Speaker A: I want to hear the version where he finishes saying away. Is that what it sounds like to you? [00:46:22] Speaker B: I mean, yeah, it does kind of sound like it's cut off abruptly. [00:46:26] Speaker A: More vocals. Verse two even louder. [00:46:30] Speaker C: All the jag. [00:46:31] Speaker A: Oh, yeah. This is the one where he gets so loud, he's practically blowing out the mic. [00:46:36] Speaker C: All the jagged edges disappear colors all look brighter when you're near the stars are all a fire in the sky sometimes I get so lonely I could why do you get all the love in the world? [00:47:09] Speaker A: Okay, and some more of the chorus vocals with some of the interesting noises happening on the track are getting into that channel. It's a pretty cool effect. [00:47:22] Speaker C: Where do you get all the love in the world? Where do you get all the love in the world? [00:47:36] Speaker A: I really like that synth drone there. Okay. This is a long one of the and I felt the entirety of the end section vocals deserved their own thing. So if that's okay with you, can we listen to them all? [00:47:54] Speaker B: Let's go. [00:47:55] Speaker A: Okay. [00:48:08] Speaker C: Why do you get all the love in the world? Why do you get all the love in the world? Why do you get all the love in the world? Why do y'all get all the love in the world? Why do you get all the love in the world? Why do y'all get all the love in the world? Why do you get all the love in the world? All the love in the world all the love in the world. [00:49:12] Speaker A: Some of that's kind of jump scare, right? [00:49:14] Speaker B: Yes. [00:49:14] Speaker A: Little again. Sounds like he's about to about to break the mic. So some people might have noticed a few notes in there. Sounded a little weird. Did you kind of I pulled this out specifically. [00:49:30] Speaker C: What are yell? [00:49:33] Speaker A: Does that sound like on Get? Does that sound like a human being? Let me do it again. Yeah, maybe. Ears are so different. Everybody's going to hear a different thing. [00:49:45] Speaker B: What are you hearing? [00:49:48] Speaker A: A plugin called Melodyne, which is pitch correction software. [00:49:53] Speaker B: Okay. [00:49:53] Speaker A: And before everyone gets mad, let me read this from an interview with digizine in 2005. [00:50:02] Speaker B: By the way, can you clarify something that I think was very misleading on a certain Netflix series called this Is Pop about autotune what it does and what it can and can't do. [00:50:12] Speaker A: Oh, yeah. [00:50:13] Speaker B: Okay. [00:50:13] Speaker A: There were a lot of lies in that show, in that episode, if you watched it. Well, the guy who invented it clearly wants to market it in such a way that he lies his ass off. [00:50:23] Speaker B: But anyway, it basically says that you don't have to be a good singer, that this software will make you a good singer. [00:50:32] Speaker A: Yeah, the claim that he made is Autotune, the thing that I invented turns a bad singer into a good singer. That's lie, lie, lie, horrible. Heinous lie. [00:50:46] Speaker B: Yeah. He even said like A and R, people came up to him and were like, we don't have to look for people who sound good anymore. We just have to look for people who look good. [00:50:52] Speaker A: And that's a stupid lie. I mean, they obviously do look you have to look for both. They have to look good and sound good. They have to sound a little good. And if they sound bad or sort of good, you're never going to make them sound great. It's going to just sound really digital. Anyway, Autotune and Melodyne do similar things. T Pain used Auto Tune. So this is not the T Pain effect. Don't get it twisted with that. [00:51:20] Speaker B: And don't be surprised if T Pain can actually sing. [00:51:23] Speaker A: And he can. [00:51:24] Speaker B: Yep. [00:51:25] Speaker A: That's the thing, is that it's not like T Pain did it because he couldn't sing. He did it because he was not confident. So from the digizine interview, another application that Rezner and Ross got into toward the end was Celimonies. Melodyne Ceremony is the company that makes Melodyne. It's got a weird interface, but the results are stunning, says Rezner. We used it mostly for vocals. Melodyne did for us really quickly what any other application would have taken forever to do. And it sounds really good. Maybe it's a slight dig on Auto Tune. I think I've used both. I think Melodyne's interface is nicer, easier, faster than Autotune's. I think this album does tuning in a pretty decent, more responsible way, which is just to tweak little things here and there. And as you could hear in what I played, some stuff, he's a little off and he's not correcting that he's taking a surgical approach to it rather than just slathering every syllable with it so that everything is tuned and it doesn't sound intentional. And when I listened to this album when it first came out, I'm not like, oh, that sounds auto tuned or anything. Like, it didn't at all sound that way. It was done well in the hands of a good engineer, a good mixer. You really shouldn't hear the vocal tuning at work, but I thought I should bring it up since this is transversed excursion with that kind of thing, and it's a contentious topic. [00:53:01] Speaker B: Has he continued to use it? [00:53:03] Speaker A: Yes. [00:53:04] Speaker B: Okay. [00:53:06] Speaker A: That's my opinion, yes. [00:53:08] Speaker B: So why exactly on that word get like, what is he doing there to play with it? [00:53:14] Speaker A: I think they're just applying it on that syllable because for whatever reason, they wanted that syllable to be perfectly on pitch. Probably because it leads right into the big jam section and it's got a really hit. I don't know. [00:53:31] Speaker B: Do you think part of it is the because I was thinking about what Atticus said about how that part was recorded. [00:53:38] Speaker A: Yeah. [00:53:38] Speaker B: So do you think it was something they kind of had to do since Reznor wasn't listening back to his vocals and was just kind of singing? [00:53:45] Speaker A: Does that make sense? Well, yeah, I guess if he did a lot of takes that were kind of spontaneous, they aren't going to want to rerecord everything. If they liked 95% of it and liked the spontaneity, they don't want to redo it and ruin all the spontaneity just because they need to pitch correct 5% of it. Yeah, I'm guessing that's the reason. So they kept the energy for most of it, but just wanted to tweak here and there to give a little more polish. That's part of the reason this album comes across sounding more polished, maybe, than anything they'd done yet. Okay. Cleansing the palate. This is Trent saying, oh, I need to turn that into a regular drop, I think. [00:54:39] Speaker B: Yeah, I think so. [00:54:42] Speaker A: I'm walking here. I don't think I realized that was in there. But he's letting loose. He's cutting loose on this section. Okay, enough of vocals with that. Some more synthy sounds in the surround channels. That's a creepy thing that comes at you. Not a lot of, like, synthesizer in this song, but except for that little thing and the drone we heard. [00:55:11] Speaker C: Okay. [00:55:12] Speaker A: Some more noise and vocals, maybe. That's some guitar noise, possibly. Probably. [00:55:30] Speaker C: Why do you get all the love in the world? Why do you get all the love in the world? Why do you get all the love in the world? [00:56:03] Speaker A: Okay, my last few are just about what I keep calling the jam section at the end. [00:56:10] Speaker B: The cool and the gang part. [00:56:11] Speaker A: Yeah, the Cool and the Gang disco section. I mixed some different takes on it. That's the wrong way to say it. I highlighted different parts of it that are really interesting. When you bring them out like that. You can hear the shaker. Not tambourine yet, but a shaker and tom's, so I brought those up. This one removes the, like, the lead vocals so you can hear the background vocals better. [00:56:52] Speaker C: Why do you get all the love and why do you get all some. [00:57:01] Speaker A: Of these harmonies here I really like. [00:57:04] Speaker C: Why do you get all the love in the world? Why do y'all get all the love in the world? Why do you get all the love in the world? Why do y'all get all the love in the world? Why do you get all the love in the world? Why do you get out had to. [00:57:28] Speaker A: Make that tambourine as loud as possible. Then the second part of that I get all alone. [00:57:36] Speaker C: Why? [00:58:06] Speaker A: Like, the wee? I don't think I noticed that before. And then just so you can hear the instrumental version of that part without the vocals because the vocals are so overpowering there, it's worth hearing. Just like the Drummond bass stuff. We don't need guitar to jam. We just need a really distorted bass, some drums, tambourine, piano. Okay. That's all I have. For all the love in the world finally done. Sorry. [00:58:58] Speaker B: No, that's good. All good stuff there, Blake. [00:59:01] Speaker A: Thank you. [00:59:03] Speaker B: So this album does something that's kind of pretty. Hate Machiney has additional lyrics that were not sung, maybe sometimes sung live, but they were included in, like, a PDF booklet. Right. Because the CD itself did not come with any form of liner notes. Really. And we'll talk about why later. There's a reason for that. But basically, I believe if you were a member of the Spiral, you got, like, an exclusive With Teeth poster that included all the lyrics, including these additional lyrics that were not sung. And you could also download, like, a PDF booklet. I think I'm getting this right? Yeah, but it had all the lyrics in it and the liner notes. [00:59:49] Speaker A: Right. [00:59:49] Speaker B: So additional lyrics that appeared in the With Teeth PDF booklet, but not on the song. [00:59:57] Speaker A: Okay. [00:59:58] Speaker B: Why am I always watching from the outside on the other side of the glass? Behind glass? Always watching. Everyone separate. Watching always. Don't touch. This is getting deeper. Deeper as time goes by. The water is getting colder. Here I am surrounded by people but still all alone. I am always alone. Even with myself imprisoned in my head. And there doesn't seem to be any way to get out of here. And I am so fucking sick of here. Wish I was there. Right beside is still a million miles away behind these bars in a rut. Any place else will do. Hello. Didn't think so. Broadcasting only static coming in no one can hear me when I'm in here that's all. [01:00:39] Speaker A: From all the love in the world yeah, that's a lot of stuff. [01:00:44] Speaker B: And it feels more feels like spoken word. Yeah, it feels more like feels like. [01:00:50] Speaker A: A thing that he would just kind of free verse. Yeah. [01:00:53] Speaker B: Not like really spoken. Yeah. [01:00:55] Speaker A: And I do not want this. He'd just kind of ramble it and maybe really I mean, this would be something low in the mix that I. [01:01:02] Speaker B: Think that would have been recorded probably like that if he had left it in. But I think it adds more context to what the song is about that I think Pitchfork missed completely. [01:01:11] Speaker A: Well, they didn't have the lyric sheet. [01:01:13] Speaker B: Well, but they poster. I still think that the lyrics lend themselves to a different interpretation than what they have. I could say maybe you could make the argument that getting smaller is kind of about how his fame has lessened. Yeah, but not this song. I don't think it's about that. I think it really is about someone who is suffering from mental health issues or kind of the alienation of addiction. Right. And not knowing their place. Whereas everyone else seems to know what they're doing. They're unsure of what they're doing, how. [01:01:45] Speaker A: Very lonely it is. [01:01:46] Speaker B: They're very lonely. They can't really relate to people very well and don't understand how everyone else seems to be functioning and having relationships and having these deeper relationships. And I still think there's a lot of allusions to maybe drug use. For example, there's a lyric that's, like, colors all look brighter when you're near. [01:02:06] Speaker A: Yeah. [01:02:06] Speaker B: The stars are all a fire in the sky all the jagged edges disappear to me, that seems like a drug reference. Like medicating yourself. [01:02:15] Speaker A: Yeah. That makes way more sense than singing about a person. I don't know why I didn't think of that, but yeah. Is it like, why does the drug get all the love in the world? [01:02:26] Speaker B: Oh, I still think it's a person reflecting upon why other people seem to. [01:02:30] Speaker A: Get yeah, but maybe you could think of it that way. [01:02:33] Speaker B: Maybe, but I still think it's still referencing I think this album is a concept album in a way about it on purpose. Not on purpose, maybe. Or maybe I think he said that really, the songs it's not really a concept. It's just songs who are all friends with each other. So they do have some related ideas throughout the album and things that kind of string them together. But it's not like a concept album. [01:02:59] Speaker A: It's not like the Fragile exactly. Or downward spiral. [01:03:03] Speaker B: Yeah. Well, the Fragile Sonically depended upon a lot of things that's just me kind of interpreting it. It could be that makes sense, seeing a lot. But that kind of irked me when pitchwork said that I don't think that. [01:03:16] Speaker A: Well, they don't they should become. [01:03:19] Speaker B: About things like that. [01:03:20] Speaker A: Not at all. [01:03:21] Speaker B: And I'm not saying that my interpretation is correct, but I feel like it's. [01:03:25] Speaker A: More correct than I think you're in the right zone. [01:03:28] Speaker B: Yeah. And Reznor doesn't really like talking about what his songs mean and leaves them open for interpretation for the listener. And that's what I got out of. [01:03:36] Speaker A: So it's probably better live. [01:03:40] Speaker B: This was not played this was one of two songs it was this and Sunspots that were not played initially on the With Teeth tours. This song wasn't played live until Tension 2013. [01:03:51] Speaker A: That's a shame. [01:03:53] Speaker B: It made its live debut on November 5, 2013, in San Antonio, Texas, and at that time, it featured backing vocals by Lisa Fisher and Charlote Gibson. [01:04:03] Speaker A: That's the way you do. Yeah. Puts the backup singers to really good use. [01:04:08] Speaker B: Yeah. And I think it was played several times on the Cold and Black and Infinite tour, but damn, that sucks. [01:04:16] Speaker A: I missed that. [01:04:17] Speaker B: Yeah. So I think that pretty much wraps up what I had to say about this song. I think I got everything. Okay. [01:04:26] Speaker A: Should we take a break before going to track two? [01:04:30] Speaker B: Yeah, let's take a quick break. All right. [01:04:41] Speaker A: Track two. [01:04:43] Speaker B: You know what you are? [01:04:44] Speaker A: Question mark. Not. You know who you are from pretty hate machine era. No, this is not that. This is? You know what you are? Question mark. Just clarifying. [01:04:57] Speaker B: I don't really have a lot about this one. [01:05:01] Speaker A: Not much is known about it. [01:05:03] Speaker B: Well, I have a question for you. [01:05:05] Speaker A: I made that up. What? [01:05:08] Speaker B: Okay, let me get through what I know about it. I know that there was a Clint Mansell remix version of it for the Doom original motion picture soundtrack. [01:05:19] Speaker A: That's pretty funny. [01:05:20] Speaker B: I think it's pretty similar to the album version. I think it's just changed a tiny bit, maybe, to fit in the movie. I don't know. I know nothing about doom. I never played the game. [01:05:32] Speaker A: Should have been the Quake movie. [01:05:33] Speaker B: Definitely didn't watch the movie, so I know nothing there. [01:05:37] Speaker A: Oh, the game's good. Well, the original was that where you. [01:05:40] Speaker B: Got to go around killing Nazis. [01:05:42] Speaker A: That was Wolfenstein. [01:05:43] Speaker B: Oh, okay. Well, I support Wolfenstein in this house. [01:05:48] Speaker A: Okay. [01:05:49] Speaker B: Yeah. Dave Grohl did the drums for it, which I think you can hear immediately. [01:05:54] Speaker A: This very much sounds like Dave Grohl going ham on the drums, whereas the first one, not so much. [01:06:01] Speaker B: Yeah. And also I can't remember where I read this, but something about the double bass technique. [01:06:06] Speaker A: Yeah, the double kick drum. [01:06:08] Speaker B: Is that's what I thought they were referring to? Because I was like, what? The F is the double bass technique? And I thought because they didn't clarify. [01:06:15] Speaker A: They should be saying double kick. Double bass is like the thing that the guy in Spinal Tap has. Yeah. Double kick. [01:06:27] Speaker B: Okay. That's what I thought. [01:06:29] Speaker A: You don't hear a lot nine Inch Nails, unless we're counting, like, gave up or something. But that's just like a drum machine. But yeah. [01:06:39] Speaker B: Okay. That's all I got. I told you, I don't have okay. [01:06:42] Speaker A: Wow. Not much out there. [01:06:44] Speaker B: I mean, we can talk about live stuff later. [01:06:46] Speaker A: Okay. No, this is good. We should let it speak for itself, honestly. [01:06:50] Speaker B: And additional lyrics, too. [01:06:52] Speaker A: But it's credited to resner and grohl. That's what we know. Right. [01:06:58] Speaker B: That's basically all I know. And Doom soundtrack. [01:07:02] Speaker C: Right. [01:07:10] Speaker A: That's that double bass you're hearing. [01:07:14] Speaker B: Yeah, it's cool. [01:07:15] Speaker A: I have a good clip for it later. Yeah. This beat goes wild. [01:07:22] Speaker C: I mean, when it came out of. [01:07:25] Speaker A: The gate, I was just like what. [01:07:27] Speaker C: I tried to say myself through trying to get to the other side. [01:07:33] Speaker A: Especially after, like, a dance jam, disco jam, something with a lot more metal flavor. It's kind of jarring, but in a good way. [01:07:48] Speaker C: When they figured me out and it all just ride away. [01:07:54] Speaker A: That hits hard. [01:07:57] Speaker B: Definitely. [01:08:00] Speaker A: Using the F word song is much harder. Hitting. [01:08:08] Speaker C: Back to where you belong you. [01:08:15] Speaker B: Better take a good kind of makes me think more of broken Era, nine Inch Nails, maybe. [01:08:21] Speaker A: Yeah. With the bath metal inspired drum beat. [01:08:27] Speaker C: Yeah. Because I say all else. [01:08:29] Speaker A: You can try to pretend super bombastic. [01:08:33] Speaker C: But you can't change anything. [01:08:36] Speaker A: Hard hitting chorus can't change anything. [01:08:39] Speaker C: In the game, I want you down. [01:08:50] Speaker A: Like that. It's just like a halftime beat for the chorus, but it's an unusual drum pattern. [01:09:00] Speaker C: This is my favorite party. [01:09:07] Speaker A: What about you? The bridge part? [01:09:09] Speaker B: Yeah, probably the bridge on a lot of the songs on this album are my favorite part. [01:09:14] Speaker A: I just really like the plinky melody here on whatever. I wish I knew what kind of keys or synth he was hitting there. His keys, melody and then the harmony on top of that. I love it. The lyric part here is just kind of whatever. Just very repetitive. [01:09:44] Speaker C: What you are. [01:09:50] Speaker A: Super gross drum fill on the snare, too. [01:09:56] Speaker C: What you are. [01:10:05] Speaker A: This part is gonna like, blow your speakers out if you don't be careful in the car. Get Back to the Waveform is absolutely maxed out on this last chorus here. We end with piano. What sounds like melody? Melotron flutes. Interesting. Interesting. Good little track there. What do you think about, you know, what you are? Are you a stan of it or a hater? [01:10:57] Speaker B: I'm not a hater, I'm just not in love with it like a lot of people are. I think it goes hard, but that doesn't necessarily mean it's great. Does that make sense? [01:11:05] Speaker A: Yeah, it does go hard. I think it's probably one of the ones I like more on the album, but it doesn't amaze me. I don't know, it's not really when I think about my favorite Nine Inch Nails songs, it doesn't make any top ten lists, but it does go hard. So I have some clips. This song is full of noise. [01:11:31] Speaker B: Yes. [01:11:32] Speaker A: White noise and otherwise so many layers of it you can't even really tell it's there until you pull it apart. But there's a lot of noise in. [01:11:41] Speaker C: The intro, so here's some of that's. [01:11:59] Speaker A: Stuff is just kind of like zooming around the room if you're listening to the five one mix. [01:12:04] Speaker B: Yeah, it's weird. [01:12:06] Speaker A: Okay. An example of double kick. I just looped it so this is what it would sound like if it was nothing but the double kick. [01:12:19] Speaker C: Or. [01:12:19] Speaker A: Just doing blast beats. It sounds super polished off. Like, obviously Groll is very good and tight and accurate, but it sounds affected. And there's more going on here than just a man beating the drums in a room. I mean, it is Nine inch nails. There's going to be some kind of sequencing, clever editing involved. That's all I'm saying. Okay. Some vocals. Oh, the vocals on this song get very interesting. [01:12:51] Speaker C: I tried to sing myself through and. [01:12:54] Speaker A: Again, a lot of noise is going to be mixed in because it happens to be in the track. [01:12:59] Speaker C: I tried to sing myself. Through try to get to the other side to patch up the cracks and the holes that I have to hide found a little bit of time even made it work okay just long enough to really make it hurt when they figured me out and it all just rotted away don't you fuck gang. Don't watch out. [01:13:30] Speaker A: Pretty harsh. Continuing to the chorus. The harshness just rotted away don't you fuck gang. [01:13:38] Speaker C: Don't watch out don't you fuck gang don't watch out don't you fuck gang. Don't watch out. [01:13:54] Speaker A: He'S got little vocalizations after each phrase, too. If you listen really close there. [01:13:59] Speaker C: Don't you fucking know what you are. [01:14:05] Speaker A: Anyway, more noise in the choruses. Yeah, this one kind of blew me away. I didn't really realize that. It's like I don't know if it's like Vocoded, but a noisy version almost whisper, like, overdub of the lyrics. [01:14:26] Speaker C: Don't you fucking know what you are don't you fucking don't fuck you are. [01:14:43] Speaker B: Back to where you belong it's like a horror movie. [01:14:46] Speaker A: Yeah. It's so crazy. That guitar is not even needed on the chorus because there's such a aggressive bass synth. And pump enough white noise into the speakers, you're not going to notice the lack of guitar. I guess I guess maybe that was the thinking behind it, but it works. Okay, verse two. [01:15:09] Speaker C: You better take a good look because I'm full of shit with my heart I have tried to believe it y'all can dress it all up you can try to pretend but you can't change anything you can't change anything in the. [01:15:38] Speaker A: I should have given a jump scare warning for that one. Sorry. The full of shit part cracks me up. [01:15:45] Speaker C: Jet, jet. [01:15:50] Speaker A: In the surround version, the shit delay gets its own goes into the surround channels. [01:15:58] Speaker C: Jet, jet, jet. [01:16:01] Speaker A: And if you wanted to hear the shit, just isolated jet. This also needs to be a regular drop for the show. [01:16:09] Speaker C: Jet. [01:16:10] Speaker A: If I'm ever upset by something, okay? Stuff from the bridge. My favorite part. I like how the vocal disintegrates digital noise there. [01:16:27] Speaker C: Remember what you are it's a really. [01:16:30] Speaker A: Cool synth drone part here, too. [01:16:32] Speaker C: Came from remember what you are remember where you came from remember what you are remember you came from remember what you are remember you, remember you. [01:17:18] Speaker A: Yeah. Some of that drum layering I mentioned can be heard there, too. The final chorus, the noisiest of them all. [01:17:30] Speaker C: Night raw. [01:17:53] Speaker A: A prominent WA pedal guitar and piano. Then another little synth there that is kind of underneath the melotron. Not really sure the source of that one. And then what I don't think this is like the John Lennon melotron. It doesn't sound as genuine, but it still has that melotron flute sound. So I don't know. This one could be like a virtual instrumental. Does he still have that thing, you think? [01:18:53] Speaker B: Probably went back to whoever he borrowed it from. [01:18:56] Speaker A: Oh, yeah, he just borrowed it. So maybe that's why he didn't have it anymore and had to use a plugin. Oh, I wanted to get the WA guitar by itself for some reason. [01:19:09] Speaker C: Why? Okay. [01:19:18] Speaker A: That's all I had. Sorry. I have so many sound clips here. You could say I collect them. [01:19:28] Speaker B: Well, that'd be a great segue if we were done. [01:19:32] Speaker A: Damn it. [01:19:33] Speaker B: So, real quick, as far as live, it was played quite a lot, I think, during the With Teeth tours. So it debuted on March 23, 2005? Yes, that date is correct. Double checked it. [01:19:47] Speaker A: What? [01:19:49] Speaker B: March 23, 2005. When did this album come out? [01:19:52] Speaker A: Oh, in May. So a few months before the album came out. [01:19:56] Speaker B: So they did like, a small series of club tours, I believe. Yeah. [01:20:00] Speaker A: Man. How many exclusive tracks did people get to hear? [01:20:05] Speaker B: I think that because it was they hadn't really played much or at all. Any of these songs. Live? I think eight were debuted during these shows. [01:20:15] Speaker A: I think that would have been cool to have been there. [01:20:17] Speaker B: Yeah. We'll talk more about it whenever we talk about the touring cycle for this album, but has not been played since the last show of the performance, 2007 tour. So not a common one now. Right now you might be wondering, did this have additional lyrics? It did. So you are not one of them. You belong with us. You're only fooling yourself. Go on, get back to where you belong. You are not one of them. You belong with us. You're only fooling yourself. Come back where you belong. Back to nowhere back to nothing back to that lonely place inside your head. Come back where you belong. You're so fucking stupid and pathetic. Look what you're trying to do. We will never let you go. [01:21:01] Speaker A: These almost sound like notes that didn't become lyrics or something. Like these are, like, the rough drafts, maybe. [01:21:11] Speaker B: Yeah. I'm not done. Even that was a lie. You must have wanted to believe. You didn't really believe that, did you? Well, it runs too deep it runs too deep, my friend better start to look at things through different eyes don't you fucking know what you are? Go on, get back, get back get back to where you belong. [01:21:27] Speaker A: Again, more of that free verse sounding. [01:21:29] Speaker B: Yeah. And again, this is another song, I think, that is talking about various insecurities and anxieties around addiction. [01:21:41] Speaker A: I think a lot of this album obviously does. [01:21:44] Speaker B: Yeah. I think he's even said, I hope. I mean, a lot of songs are about kind of overcoming addiction. I hope no one finds it boring. But this one, I think it kind of talks about the whys of addiction, at least in Reznor's case, kind of faking it and presenting yourself as okay when you're not. And kind of that feeling of imposter syndrome and the insecurity he's always had whenever he was recording and working. And I think that's kind of what this song addresses to me, you know, what you are. [01:22:21] Speaker A: You're shit. So it's talking to himself. [01:22:26] Speaker B: Yeah. [01:22:27] Speaker A: Don't you know, get back to where. [01:22:29] Speaker B: You belong, especially the lyrics. And he's talking about, like I think there's also fear of falling back into that trap. Right. Of falling back into addiction that every addict probably carries with them. Which is why they can't ever really or they try to completely avoid the substances or substance that they were addicted to because there's the fear of going back falling back into that kind of. [01:22:54] Speaker A: Behavior, or just thinking it's where you belong, or yeah. [01:22:57] Speaker B: That kind of self sabotaging. [01:22:59] Speaker A: Right? [01:23:00] Speaker B: Yeah. Just again, my interpretation of it. [01:23:03] Speaker A: No, I think it's good. [01:23:04] Speaker B: So the collector. [01:23:07] Speaker A: Here we go. Now I can talk about being a collector of clips. [01:23:12] Speaker B: Finally. Third track on with teeth drums again, Dave Grohl. I believe this was initially Reznor's favorite track on With Teeth. [01:23:21] Speaker A: That's strange to me. [01:23:22] Speaker B: I think that was on NIN access. I think the Nintend posted that. [01:23:26] Speaker A: Yeah, I read that. Why this one? [01:23:29] Speaker B: I don't know. This was also available on Rock Band. Did you ever play rock band? [01:23:33] Speaker A: I did. I remember playing hand that feeds on rock band. And the stems that I got for this song I am assuming came from Rock Band. [01:23:44] Speaker B: Interesting. Yeah. I don't have a lot about The Collector again. Just I don't really have a lot of information about it. [01:23:53] Speaker A: Well, it's not a single. It's not a live fave. It's not one that people go back to often saying, this is a favorite NIN track. [01:24:04] Speaker B: For me, it probably is for some people, but yeah, I mean, I just don't have a lot about it. [01:24:09] Speaker A: I hear the opposite fairly often when people are talking about With Teeth and maybe their least favorite tracks. [01:24:16] Speaker B: I wouldn't put it in my least favorite. [01:24:19] Speaker A: Yeah, I'm not sure. It's maybe somewhere in the middle. Should I play it? [01:24:24] Speaker B: Play it. [01:24:28] Speaker A: Oh, it's Dave Grohl again. This sounds polished, but it does very much sound like Dave Grohl. Not a lot of effect. And a dirty bass again, I love. [01:24:49] Speaker B: Dirty bass on this song. [01:24:51] Speaker A: So dirty. [01:24:57] Speaker C: Tend to accumulate. I have this mat. It drags behind me. It picks up feelings for me to feed upon. [01:25:11] Speaker A: That's an interesting lyric. [01:25:14] Speaker C: I wish I could let it go. [01:25:21] Speaker A: I do like the OD time signature here. I should point out it's like six followed by seven. Or you could say it's 13, but. [01:25:29] Speaker C: It'S time to five, six. [01:25:35] Speaker A: Well, the last one cuts off there. [01:25:39] Speaker C: I know why. [01:25:47] Speaker B: I wrote that. This is some major tourist shit, this whole song. [01:25:52] Speaker A: Is it? Why is that? [01:25:54] Speaker B: I don't know. Just the lyrics about swallowing it all. No. Like, there are times, plenty of times I wish I could let it go. [01:26:03] Speaker A: I feel like a Taurus has never forgotten anything that's happened to them, ever. [01:26:09] Speaker B: Any flights we remember forever all your. [01:26:13] Speaker C: Heart steps I made it wild they won't make me stay. [01:26:23] Speaker A: Does the OD time signature stand out to you on this one? [01:26:26] Speaker B: Yeah. And maybe that's why people don't like it. [01:26:28] Speaker A: Maybe because it's kind of now, the chorus, it falls in line a bit more. There's part of it four. Four. But that verse is kind of off kilter. I kind of like that, that it's an OD time. [01:26:45] Speaker B: I think it's well done in in his hands. But it's kind of awkward. [01:26:52] Speaker A: I mean, yeah, he's he's really good at weird time signatures. But yeah, like, it's awkward on purpose, probably. [01:27:02] Speaker C: Every last one. Every last one? Every last one. [01:27:11] Speaker A: Every last one is repeated a lot for the end of the song here. [01:27:16] Speaker B: I think I was looking at lyric genius and someone said, this is repeated 19 times. Halo 19. Coincidence. [01:27:25] Speaker A: Wow. Numerology. [01:27:27] Speaker B: I need to count. [01:27:30] Speaker A: That'S only a little over three minutes. That's maybe one of the simplest songs, if not the simplest song on with Teeth. And is it the shortest? Let me check here. It is the shortest. [01:27:45] Speaker B: I do appreciate that. It is a short, weird little song. [01:27:49] Speaker A: Yeah. It is like Trent. It's a short, little weird one. Yeah. And you'll see with the clips that I have, there's not a lot to it. There aren't that many elements. It's kind of like a rock and roll band song with a piano and some noise. Maybe that's why they had it in rock band. Maybe mostly guitar based drum, which is different for Nine Inch Nails. You know, this whole live drum thing. Yeah. The live drum thing is a different feel. So the bass, as I said, dirty as can be. And I didn't pull out Grohl's drums because they are so very apparent. I didn't really think they needed to be soloed. Yeah, like you you know what they sound like. Some vocals, of course, I pick things up. [01:28:55] Speaker C: I am a collector. And things, wealth, things that tend to accumulate I have this net. It drags behind me. It picks up feelings for me to feed upon. There are times, plenty of times, I wish I could let it go. [01:29:21] Speaker A: Reverb comes in to breathe, and they. [01:29:24] Speaker C: Start to grow inside me. There are times, plenty of times, I wish I could let it go. But they start to make me think things I don't want to know. [01:29:37] Speaker A: He uses that a lot. Very dry vocals on verse and then just make it wet on the chorus. It's a good trick. It works. Chorus vocals. I'm trying to fit I realize I just kind of misspoke that was like the pre chorus part. But it's also true of the chorus as you'll hear that has more reverb as well. [01:30:02] Speaker C: I'm trying to fit it outside and delay I'm trying to open my mouth wide I'm trying not to choke and swallow it all swallow it all swallow it all swallow it all he says. [01:30:25] Speaker A: Swallow it all a lot in this one. [01:30:26] Speaker B: I believe it's 19 times. Halo 19. Coincidence? [01:30:30] Speaker A: I don't think so. Raunchy, though. [01:30:33] Speaker B: He's a big boy. [01:30:35] Speaker A: Oh, I had to isolate my favorite lyric. [01:30:38] Speaker C: I am a good boy, and I will swallow it all. Swallow it all, swallow okay. [01:30:45] Speaker A: Lots of swallowing, et cetera. You get it? But I just like this. I think the first time I heard that, I thought he was saying, I am a big boy. [01:30:57] Speaker B: I think I did, too. And in fact, I just said big boy because I can't get that out of my head. Earlier I said, Gizzy's a big boy. Then I was like, Wait. [01:31:03] Speaker A: I think it's because when we're growing. [01:31:05] Speaker B: Up be a big boy. [01:31:07] Speaker A: Yeah, all right. You got to be a big boy and put on your seatbelt or whatever the hell. [01:31:13] Speaker B: Be a big girl and take this Robitussin. Drink it all, swallow it all. [01:31:18] Speaker A: That's exactly what he's talking about. [01:31:20] Speaker B: Take your medicine. [01:31:21] Speaker A: The broccoli that you didn't want to eat. Big boys eat it. And he's forced to swallow it all, every last one. Meaning every last lima bean he's being forced to eat as a big boy. [01:31:35] Speaker C: Every last one. [01:31:37] Speaker A: Just shoveling him in. Damn. Now I get this song. Now I get it. Speaking of every last one, every last. [01:31:47] Speaker C: One, every last one, every last one, every last one, every last one, every. [01:31:53] Speaker A: Last he varies the way he says it a lot throughout this. [01:31:57] Speaker C: Every last one, every last one, every last one, every last one, every last. [01:32:04] Speaker A: One, every last it goes down to a whisper. [01:32:08] Speaker C: Every last one, every last one, every last one, every last one you can. [01:32:14] Speaker A: Hear the edit points with all the overdubbing as well, which I kind of like. You don't hear it in the full context, though. I guess I lied about Dave Grohl drums. I have one clip here. The chorus, saitar comes in halfway through the verse, very noisy. The bass in the chorus and then the guitar in the chorus. [01:33:20] Speaker B: You, Sam, the way you have it separated? I can kind of hear the brainiac influence now. I never really could, like I kind of did. Was it all separated? Like I can hear? [01:33:50] Speaker A: Yeah. [01:33:50] Speaker B: Does that make sense? [01:33:51] Speaker A: Some things on their own sounded not the overall effect, but some parts on their own, I could see where the influence was. And are you talking about, like, the electroshock EP or just brainiac as a whole? Okay. [01:34:06] Speaker B: No, just that EP. [01:34:07] Speaker A: Some of the synthy stuff, too. I noticed similarities. And also listening to these guitar parts, the thing you said, I think in the intro episode about he wanted, like, single notes more than chords. That rings true. And parts like this, where to me sound a lot more like single note based parts overdubbed, obviously, and different. One thing in the left ear, one in the right. But it's, like, super simple, like, really distorted and noisy. But the parts themselves are extremely simple and based around one note, an even dirtier guitar comes in the second verse. It's so dirty. I'm like where, you know, how do they come up with these guitar tones? But then I remember reading an interview about the gear where I think it was that same as where they talk about the melodyne they're using, like line six digital pod effects. I guess it's the more modern equivalent of the zoom box he talks about using on like broken and downward spiraling, where instead of traditional amps and pedals running it through a digital effects box, it's that. But this thing that line six became popular for in the aughts called the pod. And people made fun of the pod a lot, but I guess it's all just in who's using it and how you play it is way more important than the gear. Just a couple more. [01:36:00] Speaker B: I wanted to say that's what she said. After you. [01:36:02] Speaker A: Oh, my bet. [01:36:03] Speaker B: How you use it's not the gear. [01:36:05] Speaker A: It'S not the equipment, it's not the size of the pod. It's the motion of the potion. The only synthesizer sound I could find whatsoever in this song. And it's just like a one note drone. Okay, maybe two notes like this. This is really the era of abandoning synths on many of the tracks. [01:36:38] Speaker B: Were they used more as, like supplementary? [01:36:40] Speaker A: Yeah, just being the main focus, maybe. [01:36:43] Speaker B: To create like a soundscape kind of. [01:36:45] Speaker A: It'S more yeah, noise, ambience, texture, but really takes a backseat to the rock band elements. And then we're going to hear some stuff down the line that may have zero synthesizer whatsoever. The final one. I call Trent Impersonates. Mike Garson. So this is Trent at the end of this song. You notice there's more piano. I felt it was Trent doing his best Garson impersonation. That sort of improvisational all over the keyboard, just kind of going up and down, being Wild. [01:37:31] Speaker C: Sam. [01:37:56] Speaker A: It that's it it's almost like a different song if you just listen to that by itself. [01:38:03] Speaker B: I know. Honestly, it sounded like it could be a horror film. [01:38:05] Speaker A: Yeah. This is like something from a score. Yeah, scary. [01:38:10] Speaker B: Like one of those really like creepy. [01:38:11] Speaker A: Ones is just like an A 24. [01:38:16] Speaker B: Big old wasn't there a movie in the 90s called like, Malice or something? And the score was just like these two chord, like this really simple piano. Am I thinking of the right movie? [01:38:26] Speaker A: I don't remember that one, but I remember Halloween. Well, that was a lot more than just a piano, obviously. [01:38:31] Speaker B: But anyway, I haven't watched that movie since the 90s when it was released. But I remember something about the weirdness of this piano score. Anyway. Yeah. So this again made its debut on March 23, 2005, on the kickoff of the With Keith Club tour. [01:38:46] Speaker A: Nice. [01:38:47] Speaker B: It was mostly played during this tour and eventually just became kind of cut. [01:38:53] Speaker A: Out of set lists due to lack of interest. [01:38:56] Speaker B: I don't know. Let's see, I wrote it was played on the Lights in the sky tour once, but Wave Goodbye was played several times. [01:39:04] Speaker A: Oh, interesting. [01:39:05] Speaker B: But I don't think it's been played since Wave goodbye. [01:39:08] Speaker A: Not shocked. [01:39:09] Speaker B: This also has additional lyrics from the. [01:39:13] Speaker A: Does every song you don't have to answer that now. I guess we'll find out as we go. [01:39:20] Speaker B: Yeah, because I don't have it on all of the research yet. Blake and I never printed off the PDF booklet or I kind of didn't care at the time. [01:39:28] Speaker A: I have a PDF of it somewhere on the hard drive. And we have the vinyl version, which I think messes with the format of it. [01:39:36] Speaker B: But it's a poster. Yeah. So this is short. This is not as long as the others have been and I believe it has been incorporated into some of the actual live performances of this song. I think it was specifically during Wave Goodbye, maybe. But the additional lyrics are are you listening? Yes, I am building something bigger than the world. Something terrible with all of this. Oh, put a pin in that. [01:40:05] Speaker A: He's collecting parts for the thing that he's building. [01:40:09] Speaker B: Put a pin in Legos. Yeah. [01:40:12] Speaker A: So we're going to return to is this part of the concept? [01:40:15] Speaker B: It can be. We'll talk about it on Bleed Through. Maybe just remind me of that little additional lyric. [01:40:22] Speaker A: I don't hate that. I don't hate the lyrics of this, I think are decent lyrics. I know some people don't like them. I kind of like them, maybe, except every last one doesn't have to be repeated 19 times. But other than that, I like the imagery of a man carrying around a sack that is picking up feelings for him to feed upon. It's one of the more creative things he's come up with, maybe. Do you not feel the same way? [01:40:54] Speaker B: No, I do. I don't mind this one. I don't love it song wise. Don't hate it. [01:41:00] Speaker A: It's just okay to me, I think. [01:41:03] Speaker B: Fun enough, where With Teeth gets interesting for me personally, is towards the end of the album. [01:41:11] Speaker A: It does for me, too. It goes more off of the rock. [01:41:15] Speaker B: Band mode, but it's also not necessarily traditional nine Inch Nails either. Yeah, those are the songs I like the most towards the end of the album. The beginning, I think, is kind of rough. And I'm not saying it's rough for me to get into. I'm not sure why. I like all the love in the world just fine. Yeah, that's definitely my I mean, it hooks me. Right well well, we haven't talked about hand that we talked about Hand That Feeds on Halo 18. But out of these four tracks, the strongest are all the love in the world and the hand that feeds. [01:41:49] Speaker A: Yeah. Probably for me, you know, What You Are is close behind those. And Collector, the weakest of the four. [01:41:58] Speaker B: I guess I'd probably switch the Collector and, you know, what you want for me anyway? Maybe. I don't know. Those two are just kind of, you. [01:42:07] Speaker A: Know what you are just bangs way harder. [01:42:08] Speaker B: It definitely does bang way harder. But like I said, banging way harder doesn't mean it's no better, in my opinion. [01:42:14] Speaker A: I enjoy it more, for sure. [01:42:17] Speaker B: Yeah. [01:42:17] Speaker A: And it's got that great bridge. True collector is just verse, chorus, piano outro and you're done. [01:42:26] Speaker B: I like how it gets in and gets out, though. It gets the job done sometimes. I appreciate that. So to wrap up these songs, I do have a little bit more to include on The Hand That Feeds that the Nintend found. [01:42:40] Speaker A: We didn't get everything. [01:42:42] Speaker B: We probably didn't get everything about most stuff that we talk about. [01:42:46] Speaker A: This is funny stuff. [01:42:49] Speaker B: So what I'm going to read is an excerpt from a Pitchfork article that was published in 2009. What else came out in 2009? [01:43:00] Speaker A: Two of their albums. [01:43:02] Speaker B: What else came out in 2009? We had a whole special episode about it. [01:43:07] Speaker A: Oh, okay. So not just two nine inchnel's album, but the Chris Cornell album scream. [01:43:11] Speaker B: Scream. So this was published in 2009? [01:43:14] Speaker A: Yeah, as one of the patron picks. [01:43:17] Speaker B: So I'm just going to read it as the article. But Reznor did an interview with a radio show from Chicago and he said, I'm just going to read this part of the article. Trent Reznor hasn't been shy about declaring his disdain for Chris Cornell's recent Timberland produced dance pop experiment, Scream. But in a new interview with Sound Opinions, reznor went a little deeper. Reznor spent most of his career on Interscope, the same label that released Scream. And as he revealed in the interview, interscope commissioned a Timberland remix of the 2005 Nine inch Nell single The Hand That Feeds, a remix that Reznor called Laughably Terrible. It was part of what Resner saw as a misguided attempt to give Nine inch Nell some street cred. And the part of me that wants to be the open minded artist says, I'll consider that. I even went so far as Timbaland doing a trying to do a remix, the Interscope's dime of Hand That Feeds, which was Laughably Terrible. And when I turned in Year Zero, which I thought had the coolest beats I've ever come up with, I hear, yeah, we need some cool beats. It's like, you know what, suck me. I'm going to start ending everything I say with suck. [01:44:27] Speaker A: You know what? Suck me. [01:44:29] Speaker B: Suck me. [01:44:29] Speaker A: That's what I'd say too. I mean, Year Zero, those beats do bang. [01:44:34] Speaker B: They really do. [01:44:35] Speaker A: You're going to listen to those and say, nah, we'd rather have Timberland. [01:44:38] Speaker B: We need Timbaland to do a remix of Capital G. Okay. [01:44:43] Speaker A: What I wouldn't give to hear Timbaland's hand that feeds. Why is it not out there? [01:44:49] Speaker B: I want to hear it. [01:44:51] Speaker A: It's gotta be. Or it was just erased from history by the record company who didn't want it getting out. I guess I don't know. [01:45:00] Speaker B: I'm sure Reznor had the final saying was like, no, this is not going to go on any of my singles. I don't like it. [01:45:06] Speaker A: He mixed it. [01:45:07] Speaker B: And they probably still have it somewhere. They probably paid a pretty penny for that remix. [01:45:11] Speaker A: They might have deleted all evidence, or else surely it would have leaked. [01:45:15] Speaker B: Maybe Timberland has it somewhere. [01:45:17] Speaker A: I'm just saying. I want to hear it so bad. [01:45:20] Speaker B: If anyone has it, let us know. [01:45:21] Speaker A: If I had more time, I'd make my parody idea of what it would be. [01:45:27] Speaker B: You can still do that. [01:45:28] Speaker A: I could. [01:45:28] Speaker B: At any point during the whiskey thera if you find a oh, yeah. [01:45:33] Speaker A: Write in and tell me what you think would happen in Timbaland's version of The Hand That Feeds, and I'll try to incorporate that. [01:45:41] Speaker B: I think Missy Elliot would probably yell remix at the beginning. [01:45:46] Speaker A: Okay. [01:45:46] Speaker B: I think that should be incorporated in there. [01:45:50] Speaker A: You mean this? [01:45:54] Speaker B: Yes. I also think that maybe he would make some of the lyrics backwards in the chorus. Kind of like what? [01:46:03] Speaker A: Missy? Oh, like if he says bad words, what is she saying? [01:46:08] Speaker B: There that and work it. Yeah, she's saying it's backwards, but you think down, flip it and reverse it. And then it's backwards. [01:46:15] Speaker A: Oh, so it's the lyrics. Flip it and reverse it. But actually reverse the audio. [01:46:21] Speaker B: Yeah, I think so. [01:46:23] Speaker A: I'll have to actually take the track and then reverse it. And Reaper, is it worth it? [01:46:29] Speaker C: Let me work it. I put my thing down, flip it and reverse it. [01:46:32] Speaker B: It's your permit. If it's wet thing down, flip it and reverse it. [01:46:37] Speaker C: If you got a big let me search. [01:46:40] Speaker A: I think the first time I ever heard that, I was like I was young and I was like, she's saying words so dirty. They have to, because sometimes they'll do a sensor by Reversing. [01:46:50] Speaker B: I've never heard this sensor by Reversing, but I've heard, like, weird little oh. [01:46:53] Speaker A: They definitely have done that. [01:46:54] Speaker B: Really? Maybe that's what they're doing. Then I've heard, like, weird little scratch. Yeah. But you can still kind of obviously figure out through context, like, what they're. [01:47:03] Speaker A: Saying, but sometimes it's a reversal. [01:47:05] Speaker B: This is a very playful chorus anyway. [01:47:09] Speaker A: The Missy fans out there are like, you moron. [01:47:13] Speaker B: Okay, so that's all I've got for. [01:47:16] Speaker A: The first four tracks. Yeah. [01:47:18] Speaker B: Next time you can expect to hear us blather on and on about three songs. [01:47:25] Speaker A: Oh, this will be fun. We only have to focus on three. [01:47:28] Speaker B: So we can well, we really only had to focus on three on this. [01:47:31] Speaker A: Well, okay. Yeah, good point. But I'm just happy I'm excited because I get to start off with a song I really dig. Love is not enough. [01:47:42] Speaker B: And then we've got every day is exactly the same and with teeth. [01:47:47] Speaker A: With teeth. [01:47:48] Speaker B: And I think on that episode we'll talk about grohl. [01:47:52] Speaker A: Okay. Yeah. Good thinking. This is where things might get contentious when we talk about the title track. I'm scared. [01:48:01] Speaker B: It'll be okay. [01:48:03] Speaker A: Thank you. [01:48:03] Speaker B: We'll get through this. We'll make it through somehow. You and me. [01:48:08] Speaker A: That should be a song. [01:48:11] Speaker B: Why isn't it? [01:48:12] Speaker A: Okay, we got to shout out new patrons, right? [01:48:15] Speaker B: Right. [01:48:17] Speaker A: All right, so if you want our bonus episodes that's right, twice the episodes, our discord merch discounts, other benefits, you got to go to Patreon.com, Nailed Pod, like some of these people have, and I'm going to read the names of some of our new friends. And the app is really bad, so if I miss your name, please tell me and I'll be sure to read it with even more emphasis to make up for it. So thank you to Sophie, Mel, Olivia, and George. We now have 133 patrons. Can you believe it? [01:49:00] Speaker B: We only need to get to 200 for me to get my NIN tatoo. [01:49:05] Speaker A: Jess gets a NIN tatoo at 200 patrons. So start signing up and the patrons get to choose what it is and where it goes. [01:49:14] Speaker B: That's not true at all. That's not true. [01:49:16] Speaker A: And anything goes 200. I'm going to be seeing dollar signs. I won't care. [01:49:23] Speaker B: I care. It's my body, my choice. [01:49:26] Speaker A: Okay. All right. At 300, I get a tattoo and it's Trenton Reznor two scale. [01:49:36] Speaker B: Oh, on your body? [01:49:37] Speaker A: Yeah, on my body. But it starts from the feet up, so the top of his head is like, Where my clavicle? [01:49:43] Speaker B: Is that's going to be awkward during anyway, if you want to support us, but we understand times are tough, you can always rate and review us on Apple Music. [01:49:55] Speaker A: Yeah, support us for free by following us on all the socials and going to Nailedpod.com where all of our stuff is, including merch. But that's not free, though. [01:50:08] Speaker B: But we do have monthly giveaways. [01:50:10] Speaker A: Yeah, if you're a patron, we do. [01:50:13] Speaker C: Oh, shit. [01:50:14] Speaker A: We need to get on that. I can't remember when the last time we did a giveaway was. So that probably means we're overdue. We give away some merch every month to patrons at random. I should say anything else? [01:50:29] Speaker B: I think that's it. [01:50:31] Speaker A: All right, thanks for listening, everybody. We'll see you for part two. [01:50:36] Speaker B: And if you're patrons, our next bonus EP will be about bleed through. Sorry. Oh, I should have said that. [01:50:42] Speaker A: No, that's good. Bleed through the concept that wasn't. Maybe I'll get to talk more about the Twilight Zone. You never know. [01:50:49] Speaker B: Maybe. [01:50:50] Speaker A: All right, that's it for now. And didn't that make you feel better?